Sunday, July 11, 2010

Now let's talk about what counts as a major innovation in art.To convey his idea of what’s important, an artist must be able to communicate with you.He has to capture your attention—he can’t communicate with you if your brain is channel-surfing.He has to show you something you can understand—he can't communicate without a common language.He has to show you something so unusual or so vivid that it makes you stand still and contemplate what he has created.In short, he has to make you stop, and look, and think about his work of art.

The innovations we’re looking at on this tour are not novelty for the sake of novelty.Every one of them gave its creator more power to make you stop, look, and think.And these innovations were not gimmicks or minor tweaks.They were so effective that they allowed many other sculptors to convey their values and ideas more effectively.

On the list of sculptures and the timeline, the works that illustrate innovations of that caliber—major innovations—are in bold.There are only 7 of them.We'll be looking at the other works on the list for the sake of context and contrast. Resist the temptation to make a rude noise and fast-forward through those parts of the tour.You may hate medieval art, for example, but you'll appreciate Donatello and Michelangelo more if you've seen it.

Friday, July 9, 2010

Over the next month or so, I'll be posting several of the theoretical parts from my new lecture, “Art History through Innovators, Part 1: Sculpture” The lecture is designed as a walking tour of the Metropolitan Museum of Art, but comes with a PDF of images so that you can listen to it anywhere in the world. The references to images below are to the PDF. The entire lecture (26 MP3 files and 50+ pages in PDF format) is available at

A standard art history course covers the characteristics of the art of every major civilization and every time period, from ancient through modern. In Art History through Innovators, I focus instead on one question: In 5,000 years, how did we get from a sculpture such as Mykerinus and His Queen (#1A on the handout) to Frishmuth's The Vine? What I want to show you are major innovations in art.That’s why the title of this tour is "Art History Through Innovators."

If you have an inquiring mind, you should immediately be asking two questions.Number 1: What is art? Number 2: What counts as a major innovation?

So: What is art? You might be surprised to hear that there’s no widely accepted definition.If you ask 5 staff members at the Metropolitan Museum, they’ll give you 5 different definitions.Same thing if you ask 5 professors who teach art history.

The most difficult part of writing these tours was making sure that when we start, we’re on the same page about the meaning of “art.” So let’s try this.

Look at the Nike logo on the list of sculptures.

Do you know who that is?

Do you know what he's doing?

Is he good, bad, or mediocre at what he does?

How did he get that way: skill, practice, luck, transcendental meditation?

If you recognize this figure as Michael Jordan, then the image isn't just a blob of ink on paper.It carries with it a set of ideas about excellence, and about how you achieve excellence.

Sculptures carry ideas with them, too.For example, look at Michelangelo's David on the supplementary photos.Most people see in it a combination of courage, strength, and alertness.

But a sculptor doesn’t just show any random idea that pops into his head.Art works often endure for centuries, but artists never do.So an artist can’t sculpt an image of every single thing he sees.Nor can he include every microscopic detail of what he does choose to sculpt.He has to choose his subjects and his style based on what matters enough to him to spend days, months, or years working on.

So by showing courage, strength, and alertness in a work of art, Michelangelo says: “Such things are important to me.” A sculptor who represents Uncle Dave drinking beer in a La-Z-Boy reveals a different set of values.In either case, when the artist creates his work of art, he tells you: "This is important, this matters, pay attention to this—this value, this idea, this action." Sometimes it's this kind of place, this sort of person, this kind of feeling.But it’s always something the artist considers profoundly important.

We’ll talk about why that matters to you, as a viewer, after we’ve looked at a couple millennia of sculpture.

About Me

Freelance lecturer on art history for 20+ years. Author of Outdoor Monuments of Manhattan: A Historical Guide (New York Univ. Press, 2007 - now available in stores and on Amazon) and Forgotten Delights: The Producers (2003).